Recent years have witnessed the disappearance of traditional notions of subculture, replaced by deeply complex and constantly evolving dynamics between previously opposing authoritative and transgressive social sectors. Instead of the old paradigm of centre and periphery, we face a socio-cultural structure more akin to a maze of mirrors whereby formerly incompatible social and economic structures now cooperate and reflect each other, creating alliances in order to achieve goals which are strategic and transient themselves.What was previously stated, largely explains the recent emergence of a series of peculiar ways of unauthorized public interventions which question former notions of vandalism and unlawfulness. Two prime examples of this are the practices of "reverse graffiti" and "guerilla gardening". Although technically illegal, both are fuelled by social and environmental concerns, and exploit legal loops and voids in order to flourish.Even though the legal aspects of such phenomena are worthy of consideration, the operative and symbolic dimensions of "fair vandalism" are becoming the most striking ones. Amongst a generation that often sees no distinction between work, leisure and activism, and often ignores the potential conflict between corporate interest and social involvement, “fair vandalism” is ready for use as viral marketing, just as it exposes the immense potential for contradiction between the formal and ethical dimensions of social ruling. In other words, the time has come when it is possible to be arrested for the act of cleaning walls, just as the time has come when the act of cleaning an over-saturated public space may foster the loudest voice of them all. Heitor Alvelos is Doctor of Philosophy (Communication Art and Design, Royal College of Art, 2003) and Master of Fine Arts (Visual Communication, School of the Art Institute of Chicago, 1992). Professor and current Head of Department, Communication Design, University of Porto - School of Fine Arts, Portugal, where he also conducts Research and heads the External Relations Office. Tutor in Drawing at the Royal College of Art from 1999 to 2003. Designer and intermedia artist, with work exhibited and published internationally since 1989. Recent work includes: curatorship of international Design exhibitions, in association with the Serralves Foundation; Autodigest - edition of audio CDs; video installation commissioned by the Presidency of the Portuguese Republic; live concerts commissioned by the Calouste Gulbenkian Foundation; regular collaborations with the audiovisual labels Touch and Crónica Electrónica; research papers published and presented internationally at Visual Culture and Global Culture conferences. HEITOR ALVELOS (PT) Designer e InvestigadorGRAFFITI QUE NÃO É GRAFFITI: REGENERAÇÃO URBANA, LACUNAS LEGAIS E A ASCENSÃO DO “FAIR VANDALISM” Os últimos anos assistiram ao desaparecimento das noções tradicionais de sub-cultura, que foram sendo substituídas por dinâmicas profundamente complexas, e em constante evolução, entre os sectores sociais autoritários e transgressores antes opostos. Em vez do velho paradigma do centro e periferia, estamos perante uma estrutura mais próxima de um labirinto de espelhos, através do qual estruturas sociais e económicas anteriormente incompatíveis, agora cooperam e se reflectem mutuamente, criando alianças por forma a atingir objectivos que são, eles mesmos, estratégicos e transitórios.O acima exposto, fundamentalmente explica a recente eclosão de uma série de formas peculiares de intervenções públicas não autorizadas, que questionam anteriores noções de vandalismo e ilegalidade. Dois exemplos fundamentais disto são as práticas de "reverse graffiti" e "guerilla gardening". Embora tecnicamente ilegais, ambos são sustentados por preocupações sociais e ambientais, e exploram lacunas e vazios legais de forma a prosperar.Embora os aspectos legais de tais fenómenos sejam dignos de consideração, são as dimensões operativas e simbólicas do “fair vandalism” que se afiguram mais surpreendentes. Por entre uma geração que frequentemente não distingue trabalho, lazer e activismo, e frequentemente ignora o potencial conflito entre interesse corporativo e envolvimento social, o “fair vandalism” presta-se a ser usado como marketing viral, ao expor o imenso potencial para a contradição entre as dimensões formais e éticas da governação social. Por outras palavras, chegou o momento em que é possível ser preso pelo acto de limpar paredes, tal como chegou a altura em que o acto de limpar um espaço público hiper-saturado poderá fomentar a voz mais alta de todas.